Tsui Hark's third feature hits hard, very hard, too hard for the Hong Kong censors of the time. His portrait of aimless youth, engaged in terrorist acts with no other motive than to get a good slice of the action, should not be allowed to hit the screens as it is. The director hastily cobbles together a subplot and inserts it with a shoehorn, redoubling dialogue to erase any trace of the attacks committed by his anti-heroes, but nothing can dent the work's anger, its violence radiating from every shot, every frame. The editing turns to total chaos, reinforced by the pirate use of the Goblins' soundtrack for George Romero's Dawn of the Dead. What the film loses in subversive power, it recovers in formal anarchy.

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